Bangalore, July 1, 2013: Nrithyanthara-2013, a three-day festival of dance which began on June 25 at Seva Sadana, Malleswaram featured a feast of different dance styles, showcasing talented dancers and varied themes. A multi-faceted artiste, guru Dr Sanjay Shantharam deserves all the accolades for his two accomplishments. Firstly, his Shivapriya School of Dance is now celebrating its silver jubilee year. The school, under his efficient and effective direction, has contributed immensely to the field of Bharatanatya. Secondly, for hosting Nrithyanthara-2013, the dance festival featuring famous dancers from Karnataka and elsewhere. The programmes on the last two days of the festival were held in Ravindra Kalakshetra. The curtain-raiser was a Kuchipudi natya by S V Gopalakrishna, a prominent disciple of guru Dr Sanjay. His performance revealed a confident and promising dancer with individuality. Enthralling abhinaya, confident communication and intelligent interpretations marked his successful performance. His energetic dance-renditions combined perfect technique, rhythmic precision and enormous grace. Sure of rhythm and full of zest, the dancer rendered Elaa nee dayaraadu (Athana) exquisitely. The lyrical smoothness of choreography contrasted remarkably well. The demonstration of Dashavataras and the induction of the tarangam element in the ensuing Kanakadasa pada Baaro Krishnaiah were the most absorbing features. The latter, ending with jathis on a brass plate, was delicately beautiful. His jumps and bounces from side to side were eye-catching. The audience went into raptures with his nritta, natya and nrithya.

Sheer athleticism

Pavithra Bhat’s Bharatan-atya, characterised by an air of freshness, was a celebration of dance for every art lover. His athleticism satisfied even the pickiest palette. His embodiment went beyond exact synchrony. The way he lifted his foot before stamping it down was perfectly matched to beat. The space he created around the rhythms was remarkable. His powerful nritta showed how his amazing strength enables lightness and delicacy.    The mela prapthi and alaripu start in khanda, while correct in line and profile, had subtlety in a sundari head shake, a glance or a shoulder movement, which pointed more to the controlled elegance of an experienced artiste. Vighnarajam bhaje, an eulogy to Lord Ganesha left the connoisseurs in ecstasy.

Pavithra is humble and has very good expressions. Perfection and grace, with a well-chiseled face and eloquent mime, carried his show with ease. Lithe, grace movements, aesthetics in abhinaya and brisk tempo marked the rendition of Tulasidas’ Hanuman Chaleesa, a 40-verse poetic work in praise of Lord Hanuman in the varna format. Fraught with mimetic gestures, it was a charming sojourn of the Ramayana too. It was clear that every movement and the stylised lifts were carefully crafted by him which had me reflecting on it long after the performance had ended.

Artistic flourishes

The Odissi duet by Sowmya Sikta Sahoo and Bishwa Bhushan Mohapatra was purely classical and made them a formidable pair, both nailing the taut footwork and graceful turns and twists with an artistic flourish. In the rendition of Divya Kundala, the tale of Lord Shiva followed by Shankarabharana pallavi and the Ashtapadi(Chandana charchitha), we could sense how the fan, the sleeve, the bend of the knees, the tilt of the torso, the measured pace of the feet were all elements of a refined Odissi dance. In terms of the steps, speed, compactness and the freezes shared by them, it was simply glorious.

Magnificent violin duet

The blending of two marvellous musical minds, matched to magnificent manodharmas, brought forth a sumptuous musical treat at Gayana Samaja when highly skilled vocalists Ranjani and Gayatri dazzled as fine violinists, on Sunday. Their violin duet was held under the aegis of Sri Rama Lalitha Kala Mandira. The violinists explored the rich sound of the music world and rose to the technical demands of violin play with its vivid evocations and with virtuosity.

Blessed with technical perfection, the violinists gave the impression that they are merely drawing out the inherent beauty, intensity and emotions of the instrument. The unifying element, here, was the attractive repertoire as well as the exceptional warmth and intimacy of its presentation. Never did they sacrifice the beauty of sound for the sake of virtuosity. The recital was simply the most enthralling of all for its finely shaped lines, sustained notes and different resonances with marvelous skill. They proved to be highly imaginative violinists with immaculate bowing, dexterous fingering techniques along with their innate artistry and technical brilliance.        

Ranjani and Gayatri have developed a sensitive and communicative performing skill with notable aplomb and dexterity. The concert proved that both players are in good command of their instruments and the stylistic classical vocabulary. The opening number, Nattakuranji varna(Chalamela, adi tala) was rendered in two kaalaas. Siddhi Vinayakam (Shanmukhapriya, roopaka tala) was embellished by swaras for the line Prasiddha Gananayakam. Dasa’s Smarane onde saalade accounted for a pleasing Malayamarutha raga and sahitya bhava. The alapana in Arabhi was very beautifully done in a systematic development. Thyagaraja’s Nadasudha rasam was enriched by a classy swaravinyasasa. Devi brova(Chinthamani raga) was majestic. The detailed exposition of  Kharaharapriya was marked by profundity and artistry. By highlighting the key phrases of the raga they made it an aesthetic delight too. The popular krithi Pakkala nilabadi had a scholarly and well crafted swaravistara. A crisp Telisi Rama(Poornachandrika raga) was followed by a grand raga, tana and pallavi in Charukeshi, set to khanda triputa tala. The instrumentalists shone forth in demonstrating their technical prowess and aesthetic excellence in its systematic airing. Their rare musical insight combined with their innate artistry, technical brilliance and original creativity enraptured the connoisseurs. They were excellently supported by Manoj Shiva(mridanga) and G. Omkar Rao(ghata).

Source: The New Indian Express, DT. July 1, 2013.